The rarest plants in Wales

1 April 2009

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Scientists at Amgueddfa Cymru have been researching the possibility that the Perennial Centuary (Centaurium scilloides) colonised Britain by sea.

For its size, Wales has a rich flora. The variation in rock types and landscapes from the limestones of the Gower Peninsular to the mud-stones and volcanic rocks of Snowdonia support many different and special plants. Wales is home to a number of rare plants. Some rare species are endemic to Wales and occur nowhere else in the world, such as Ley's Whitebeam or the Black Mountain Hawkweed. Other rare plants occur elsewhere but in the British Isles only occur in Wales, such as the Snowdon Lily or Yellow Whitlow Grass. Others are rare on an international basis, such as Perennial Centaury or Wild Asparagus.

The Welsh Rare Plants Project aims to help conserve threatened Welsh plants by providing a firm scientific basis for their conservation. The advice is provided by collecting information on the size and location of rare plant populations, assessing threats to their survival, collecting ecological information, analysing genetic variation and making recommendations for habitat management.

It is a joint project between Amgueddfa Cymru — National Museum Wales and the National Botanic Garden of Wales, with part funding from the Countryside Council for Wales.

Click on the thumbnails below for information on each rare plant:

Castle Studies in Wales (and beyond)

John R. Kenyon, 1 April 2009

Chepstow Castle © Cadw, Welsh Assembly Government (Crown Copyright)

Chepstow Castle © Cadw, Welsh Assembly Government (Crown Copyright)

Wooden gates at Chepstow Castle dating from the 1190s

Wooden gates at Chepstow Castle dating from the 1190s, making them probably the oldest castle doors in Europe. © Cadw, Welsh Assembly Government (Crown Copyright)

Dolforwyn Castle. © Cadw, Welsh Assembly Government (Crown Copyright)

Dolforwyn Castle from the air. © Cadw, Welsh Assembly Government (Crown Copyright)

Dolforwyn Castle. © Cadw, Welsh Assembly Government (Crown Copyright)

The ruins of Dolforwyn Castle. © Cadw, Welsh Assembly Government (Crown Copyright)

Dolwyddelan Castle. © Cadw, Welsh Assembly Government (Crown Copyright)

Dolwyddelan Castle. © Cadw, Welsh Assembly Government (Crown Copyright)

The development of medieval studies was a significant aspect of archaeology after World War 2, and work on castles was a prominent feature of these studies.

For those wanting to discover the facts about medieval castles in Wales, then a book that was published in 2008 is for you. This is Castles, Town Defences and Artillery Fortifications in the United Kingdom and Ireland: a Bibliography 1945-2007 (Donington: Shaun Tyas), compiled by John R. Kenyon.

However, much work had been done on castles long before 1945, although our understanding of these monuments has altered over the years. Because of the fine examples of castles to be seen in Wales, castle studies in this country have played an important role in the way that our research on these buildings has evolved over the last 150 years or so.

The great stone castles of Wales

George Thomas Clark has been described as the founding father of the castle studies. He was an engineer who worked under the great I. K. Brunel on both the Great Western and the Taff Vale railways in the 1830s. From the 1850s he was managing the Dowlais ironworks in Glamorgan, and well placed to indulge himself in examining the castles of Wales, on which he wrote numerous papers, later collected in book form. His theories on the origin of the earthworks of the first Norman castles in England and Wales, notably the castle mounds or mottes, such as that can be seen at Cardiff Castle, were soon shown to be wrong by later researchers, such as Ella Armitage. Nevertheless, a considerable amount of his work on the great stone castles of Wales and elsewhere is still of value.

The Bibliography 1945-2006, with its 740 pages, indicates just how popular castle studies, both academic and popular, have been since 1945. Worth noting is the excavation of the first Montgomery castle, known as Hen Domen [Old Mound], from 1960 to 1992, as this has given us a fascinating picture of what this earth-and-timber castle in the Welsh Marches would have looked like in the twelfth century.

The oldest castle doors in Europe

Other recent research has helped us change our understanding of the development of certain features to be found at some of the great stone castles. One of the best examples of this concerns Chepstow in south-east Wales. The introduction of rounded twin-tower gatehouses, such as the outer gate at Chepstow, has in the past been seen as a development from the about the 1220s. However, the wooden gates that hung in the gatehouse until 1962, and which are now on display inside the castle, have been dated through the analysis of the tree rings (dendrochronology) to the 1190s, making them probably the oldest castle doors in Europe.

Elsewhere, excavation and conservation of a number of the castles of native Welsh lords have been undertaken, for example at Dinefwr and Dryslwyn in Carmarthenshire. Dolforwyn in Powys, the last castle to be built by Llywelyn ap Gruffudd, prince of Wales (d. 1282), has been totally uncovered, and the results of the work at all three castles have appeared in popular guidebooks and academic reports.

Painting the Goddess

Sian Lile-Pastore, 30 March 2009

Over the weekend the painting of the Goddess began. Before arriving on Sunday morning, the artists had boiled up some glue made out of tamarind seeds and water. This sticky (and quite pleasant smelling)light brown mixture was then mixed with a little clay and painted over the figures to seal them and to make them white. Powdered natural paints were then mixed with water and applied to the goddess as a base coat, with another coat just being applied this morning (monday).

The pictures below show the stages followed.

Mixing the glue with water and clay
Glue
Painting glue over a thin layer of cotton to seal to seal the form

Painting glue over a thin layer of cotton to seal to seal the form

A white Durga - now sealed with the glue mixture and ready for painting!
Mixing the paint

Mixing the paint

The artist Purnendu Dey mixing the natural powdered pigments with water

The artist Purnendu Dey mixing the natural powdered pigments with water

A rainbow of colours
The artist Dibyendu Dey painting the Goddess Durga

The artist Dibyendu Dey painting the Goddess Durga

Ganesha

Ganesha

Hands!!

Sian Lile-Pastore, 27 March 2009

One of Ganesha's four hands before being painted

I have been away from the gallery for two days, and the Gods and Goddesses have been transformed! The artists are very near the end of this stage, and once the clay dries the painting and decorating begins!

All the figures now have hands and feet and are now looking all smooth (with the help of cotton on top of the clay) and more refined. Have a look at the photos below, and don't forget to come and visit the artists before the 4th April!

The artist Dibyendu Dey shaping the Goddess Durga, her lion and her foe, the buffalo demon

The artist Dibyendu Dey shaping the Goddess Durga, her lion and her foe, the buffalo demon

A close-up of the head of Kartikeya's peacock

A close-up of the head of Kartikeya's peacock

The face begins to dry

The face begins to dry

Ganesha before being painted

Ganesha before being painted

The Goddess Durga's Lion

The Goddess Durga's Lion

How the hands were made....

Sian Lile-Pastore, 27 March 2009

Below are a few images which show you the process of making hands fit for a goddess!

Rolling the clay to make fingers

Rolling the clay to make fingers

The clay rolled to form fingers and palms

The clay rolled to form fingers and palms

Placing the fingers on the Goddess Durga's hands

Placing the fingers on the Goddess Durga's hands

The image of the Goddess Durga drying before being painted

The image of the Goddess Durga drying before being painted